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Georgina Evans reports on the Y/Project show

by Georgina Evans on 28 September 2018.

This collection's success was due to more than a styling exercise, it was its total deconstruction and manipulation of proportion. Skirts, upon closer inspection, were a half mutation of trouser, with some singular legs encased.

It's odd to think of Y/Project without the wonder that is Glenn Martens. Can you remember the brand without its topsy-turvy, pull-here-push-there mentality? I certainly don't want to. Particularly, when presented with a collection such as this.

Martens' whimsical stylings were in a league of their own with this collection. Jeans began at the waist only to merge into tracksuits with drawstring adjustment, other jeans were crotch heavy, with excess piled upon the belt buckle. Dramatic sweetheart necklines carved out a deep vantage point, while stiff, petals of skirt created volume and structure. The eye ricocheted from pointed heel to silver ring necklace, to the flash of neon underneath coats or long skirts. This was a feast of innovation, something to satiate all hunger.

This collection's success was due to more than a styling exercise, it was its total deconstruction and manipulation of proportion. Skirts, upon closer inspection, were a half mutation of trouser, with some singular legs encased. What first appeared to be a multitude of layered vests, was, in fact, a singular one. Layers were cinched and tugged in the corners of jumper and collar to fool the bystander. The deconstruction here was succinct and seductive, possibly Martens' best yet.